Doomheads

Doom Charts April 2018

“It was all about filling the void inside of us and the void that was the desert around us. We played heavy rock musik to fill that void inside of us. Inside our hearts.

-John Garcia

The void is always present. And a void needs to be filled. That is the law of nature. And as John Garcia, Brant Bjork, Nick Oliveri and Joshua Homme filled the void in their life by creating music in the early 90’s, the contributors of the Doom Charts fill their life today with music that is made of the same force of that same universe that the boys of Kyuss used. There is a great power in music. It is driven by electricity that feeds the amplifiers and speakers that harness the power of the riff and sends it right into that void that exists inside all of us.

This is the Doom Charts. A chart made by the people (bloggers, music journalists, podcasters and others) that listen to an enormous amount of new music from the heavy underground every day of the year. And every month the contributers to the Doom Charts reports up to 25 albums that has made an impression on them. When the vote is counted and the magic of mathematics has done it’s thing you get the Doom Charts delivered right here. And hopefully you will discover something new here that will fill some part of that void that you might have inside of you.

Somerset’s Sergeant Thunderhoof are that weird exception to the rule, a band who have turned down record label interest so that they can control their own destiny, a band who like doing things for themselves, and more power to them for doing that because so far it seems to be working. Terra Solus is the bands third studio album and if you are familiar with their past work you will know to expect plenty of addictive grooviness, raucous riffage and hazy psychedelics all executed with a breath-taking level of musicianship and outstanding display of vocal dynamics and Terra Solus does not disappoint in any of those departments.

I hope you’re fucking ready because something gnarly is roaring out of the sky at a million miles an hour and it’s going to wreck us all. I’m talking about a Hashteroid crashing in from outer space with a dank load ready to melt your flesh before you realize what’s happening! This is a band that’s here to hit you hard and fast with a style that mixes stoner metal with Motörhead’s early years — frantic, upbeat, and kind of punky!

Fu Manchu has consistently played to their strengths on this album. While the album is rocking and fun on one hand it is a little dark and pessimistic in spots, kind of like a good monster movie. The record hits on all the sweet spots of classic Fu Manchu, astral planes, monsters, speed and a little bit of paranoia (not sure what would be causing that…..)

As indicated by the surprisingly menacing album art, Mos Generator has never been as heavy or dark as they are on Shadowlands. Past outings like 2014’s Electric Mountain Majesty have their hard-hitting moments, but it’s hard to think of a time when the Washington band’s approach has sounded this muscular. There’s not even been any shift to all-out metal either; Tony Reed and co.’s love of all things ’70s rock is firmly intact.

Kansas City riff conjurers Merlin have gifted us with yet another new record, The Wizard (2018). If you think this is just doom as usual, think again. In fact, give this a listen right now. The first thing you’ll notice is the prominence of the saxophone, something Merlin have been experimenting with off and on for some time, but now have incorporated into their compositions in a way I find quite convincing. “It’s been four long years since Merlin’s last conceptual album, Christ Killer, was released,” frontman Jordan Knorr tells us. “In that time of chaos, band members have come and gone, the cast has changed, equipment has broken, alliances were created, and a whole lot of rituals have been performed… Merlin have twisted our sound even further into the realms of the mystic unknown and unfamiliar territory.” All things considered, ‘The Wizard’ is a joyous celebration of doom, psychedelia, and magick.

The Throneless Swedes return after a bestial debut in 2015. A devastating second album full of hatred and fury, misanthropy transformed into monolithic and distorted riffs, vocal laments that emerge from the depths of the earth, a colossal album that represents faithfully the apocalyptic message preached by Black Bow Records.

Shrooms Circle from Vevey, Switzerland appear to have an inclination for providing ceremonial drug laced stoner doom. The debut is deliciously fortified with heavy riffs, ritualistic organs and Satanic evangelistic vocals on all seven tracks, which by the way includes two demos. We’re talking low heavy distortion, melodic vocals, smothering fuzz, mellotron worship from hell! A self explanatory musical offering in the form of a simple yet very respectable collection of tunes worth acquiring, soon to be released on Golden Dawn Recordings (Chile).

I don’t know what happened between this album and their last one, but Boss Keloid have taken a serious evolutionary leap forward. I mean, we were crazy about previous records, but ‘Melted on the Inch’ (2018) is absolutely possessed by a mad fever of creative inspiration. From “Chronosiam” on, we’re treated to unexpectedly fresh songcraft, one surprise (the plucky “Tarku Shavel”) after another (the proggy, jazzy-infused “Peykruve“). You never quite know what’s in store for you next, but what you do know is that each Boss Keloid track will be filled with thoughtful touches, whether that means experimenting with complex rhythms, unusual instrumentation or alluring vocal harmonies in this moment or that. Now, if you loved the “old” Boss Keloid this might have you worried, but fear not – Alex Hurst and the boys have not lost even a fraction of the gritty soul that made them so special to begin with. Melted on the Inch is, quite frankly, just the shot in the arm the heavy underground needed to encourage everyone to start pushing beyond their stylistic moorings.

New Jersey’s rockin’-est trade in their space suits for leather jackets and get all Punk AF on their 11th studio full-length. These stoner rock pioneers return to their roots and show the old school and new why Monster Magnet is a household name the whole world over…with a no-nonsense record devoid of BS and polish. Mindfucker is Rock ‘N Roll psychotherapy for the music loving masses”

On their debut full-length, Wolftooth borrows nothing but the best from their musical idols and leaves the rest on the cutting room floor. Strong song writing, bluesy grooves, thrashy riffs, and southern harmonies make this one a real winner. Whether it’s the bouncing mid-tempo beat of “Aegaeon” or the slower paced rocker “Season of the Witch,” there’s a lot here to enjoy. I recommend listening while LARPing with your friends in an open field, or maybe something more low-key like an imaginary battle with your six-year-old son in the comfort of your living room.

Heavy metal thunder! That’s the only way to describe the first full length effort from these Bay Area metal warriors. With the mindset of early 80’s metal and the soul of Seattle in the 90’s The Watchers forges a new breed of steel made heavy with great riffs and howling vocals. Get your spikes, bullet belts, denim and leather and lets bang these heads people!

The Thundering Heard is a stampede of creative riffs and sonic textures. Woven together into a tight tapestry of bottom-heavy tracks, the feel of the album is simultaneously sinister and meditative. Upon first listen, it’s hard not to be impressed by the sheer power of the music, but the true beauty is revealed through repeated plays. It’s here that the brilliantly balanced mix and frequency separation dazzles the ears, navigating deep oceans of bass and chaotic fretboard explorations, with equal skill. The Thundering Heard is an auditory tour-de-force, and one of 2018’s standout releases.

Whether dropping from the heavens or conjured from the depths of hell, Frayle‘s The White Witch EP, seemed to materialize out of thin air. Minimalistic in form, it pulses and drones, shimmers and beguiles, propelled by tribal rhythms and hypnotic pacing. The White Witch’s magic is potent, deriving its power from the subtle, vulnerable delivery of the vocals. Take heed, Frayle cast a spell that’s not easily broken.

The modern day answer to good, clean rock n roll. The Beast Remains heavy on the guitar driven hooks, Ozzy inspired vocals, and undeniable rhythm. “Like a drug I’m addicted to the madness” This band is Solid Gold!

It’s tricky to tell if Turnip’s more alternative rock approach to stoner blues was intentional, but it does make for a great album. It’d be easy to let the instruments blur completely together and lose the songwriting in the process, but the balanced mix keeps this from happening and the memorable riffs allow for repeat listens. I imagine fans of groups like All Them Witches, Merlin, and Elephant Tree will find this to be an enjoyably relaxing listen. Chill rock music for a desert night.

Messa is another band that has broken free of stylistic constraints, manifesting a brilliant metamorphosis with every album the produce. I knew how special ‘Feast for Water’ (2018) was going to be when I heard single, “Leah.” It struck me with the same send of awe that “Babalon” did on their last album, ‘Belfry’ (2016). It alone is worth the price of admission for the brilliant way it wrangles together doom, blues, and jazz influences and makes them all play nice together. It’s hard to put a finger on exactly what to call this album. It’s most definitely metal, but not unlike the latest Boss Keloid offering, Feast For Water manages to transcend the boundaries of genre. It’s as though music has entered a strange Event Horizon where the lines of convention bend and blur in beautiful contradiction. One thing that is consistent throughout the record, of course, is that this is dark, melancholy fare with flashes of sunlight breaking through the clouds. Feast for Water is an experience and I suspect if the band grows in recognition, the Italian collective will be putting on some incredible live shows with this material.

Lonely Kamel have released one hell of a magnificent album, regardless of the album cover, which is ironically fitting. Combining an absolute crushing volume of riffs in line with High on Fire with a ballsy energy of Clutch and bluesy swagger of label mates Spidergawd, Deaths-Head Hawkmoth will melt your mind and your back porch light bulb. Turn this shit up and prepare for heavy rock metamorphosis.

After four years, Apostle of Solitude is back with new music for the downtrodden and broken people of the world. From Gold to Ash is their heaviest and most somber outing to date, and you won’t find any up-tempo songs like on their previous efforts. What you will find are slow burning, complex songs with intricate vocal harmonies courtesy of Chuck Brown and Steve Janiak. The seven tracks perfectly encapsulate the feelings of being trapped beneath the cloud covered grey skies of Indianapolis during the dreary winter months. Highlights include the sleepy melodies of “Autumn Moon” and the solemn heartfelt vibes of “My Heart is Leaving Here.” Highly recommended!

The sounds of fiery stoned psychedelic rock blasting from my headphones means that Black Rainbows have got a new album out. It feels a bit darker and heavier this time around. Fuzz, powerful riffs, great song compositions and vocals buried under the sonic assault continue the fine run of Black Rainbows releases.

On Gozu’s last record Revival really showed their qualities. The ballsy downtuned guitars and rhythm section were a strong combo with the clean vocals. Equilibrium is all about perfecting Gozu’s kickass sound. The songs are better crafted, the transitions within the songs sound smoother and the (back up) vocal lines catchier than ever. Without losing nothing of that heaviness we love about this band.

The all-female outfit Blackwater Holylight, releases their first effort through RidingEasy Records. Resounding riffs, enchanting vocals and a rhythmic approach that melt over in each other and galvanizes your moment in time. A wild, heavy, fuzzy, psychedelic record that will make you dream of witches and will make your dreams bewitched. Impressive debut for sure!

Earthless are back and this time with a twist – vocals! But never fear, faithful fanatics, the sonic madness and mind bending riffing are still here but with a sense of purpose …sometimes I felt previous songs could be interchanged with any album – after all, jam based freak-outs can kinda sound the same. But now with vocals circa early 70’s, each song gains its own identity. Nothing has really changed that much – just tighter, freakier and much head nodding moments. Embrace the changes …. You might like it!

The Sciences man, ya dig?! It’s heavy as fuck. It’s weird as shit. The lyrics are insanely trippy and subversive. It’s all wrapped up in a Weedian ethos whose dank stench is stronger than ever. This is the album I’ve been waiting for. This is the album I needed. The Sciences is a genre defining album by the band that defined the genre over 20 years ago. They are the gods of the riff and they are stoned immaculate. The riff tree is risen and the Pterodactyl flies again. Fucking Righteous!